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Oil on canvas, motives "Scream", 80x61 cm. The painting was confiscated in the apartment at a person in connection with another seizure of art forgeries, january 2007.
Court: Both the paintings and the signature is of such poor quality that it would be beyond any doubt that this is not an original work of Munch. The painting returned to the owner. The painting can be sold at the market again.

Oil on canvas, motives "Nude Woman", signed "E Munch", 80x61 cm. The painting was confiscated in the apartment at a person in connection with another seizure of art forgeries, january 2007.
Court: Both the paintings and the signature is of such poor quality that it would be beyond any doubt that this is not an original work of Munch. The painting returned to the owner.
Warning! There is a risk that the paintings can be re-entering the market.

Oil on canvas, motive, The girls on the bridge, signed with monogram "E.M.", 46x38 cm. In 1985 the painting was submitted to a major auction house in Stockholm for examination and possible sale. It proved to be a forgery and they contacted police. With the painting followed a fake certificate of authenticity issued in the name John H Langeland, executive director of the Munch Museum in Oslo, and with his signature forged. The owner of the painting said he had inherited it from his father, who in the letter had been written: "At my salon wall is a colouristic gorgeous painting with the following certificates of authenticity:" At the request confirmed that the reverse painting 46x38 cm, is registered in Oslo Municipality's art collections a genuine work of Edvard Munch. Executed in 1905. Oslo January 22, 1964. Johan H Langaard (CEO Oslo's Munch Museum). "
Munch made &#8203;&#8203;several variations of this subject. At least seven are known. In May 2008, became one of the version of the girls on the bridge Sold at Sotheby's in New York for 30 million dollars, the second highest price paid for a Munch painting.
After an expert investigation and judgment declared that the painting is not genuine. It is a forgery.

Colour etching, composition with figures, untitled, signed "E. Munch", numbered EA, size 9,5 x15 cm. The police were called by staff at an auction house in Stockholm Sweden on the grounds that they had received two paintings for sale that probably was not genuine. Signed "Munch" and "Dali".
During the investigation, stated the owner that she bought the two paintings on e-bay in spring 2013., She had paid 800 USD for Munch and 200 USD for Dali.
The investigation concluded that the two paintings were fakes. They are now forfeited.

Pastel, 79x68 cm, with motif seated woman, signed "E Munch". The painting was submitted to a major auction house in Stockholm for sale. Auction House sent the information about the painting to Munch Museum in Oslo, asking if the painting was known and asked for their opinion. The museum responded that the painting had been examined earlier in 1989. It was then determined that this is not an original work of Edvard Munch.
The auction house then took no action, they returned the the painting to the owner because it had been deemed not to be genuine and that the owner himself should contact the police. The owner then contacted the police to get a proper investigation into the painting's authenticity.
The painting had been inherited from relatives and on the back is a text of gift dated in 1938.
Court: The painting has been provided with a forged signature to appear to be an authentic painting by Edvard Munch. Thus, it is a counterfeit.
Note: The Court will judge that the signature should be removed and that a text is applied on the back where it clearly states that "This is not an original work of Edvard Munch."
Warning! The painting may enter the market again and there is a risk that it has again been fitted with a forged signature.

Oil on canvas, 87x71 cm. Unsigned copy. After an original “Amor and Psyche” by edvard Munch. A forgery of a printed original. The forgers have used a conservator who doubled the painting and manipulated it. Another canvas was glued on the back, on top of the original canvas. The painting was sold for SEK 20000.
Included among a high number of confiscated forged art called ”The Society of Art Friends” in Sweden. Three men, aged 30, 37, and 40 years old, were caught in Stockholm, Sweden after a tip off from the police reconnaissance force in Ängelholm, Sweden. Shortly afterwards, another two men were caught. In total, 48 house searches were made through out the nation from which 83 forged paintings were confiscated. Forged art had already been sold for millions of Swedish crowns. Victims of the gang were well known, well to do, businessmen. The gang were aided by art experts who, for very little money, issued certificates of authenticity for a number of the forged paintings. On a door to a flat in Stockholm the men had displayed a sign with the text “The Society of Art Friends”.

Oil on canvas, titled "Study for Kilden", size 50x34 cm, signed "E. Munch" and on the reverse dated in 1903. During a search of Mr. 'MS' home in Sweden in October 2007 was found five counterfeit artwork. This oil painting ostensibly picturing a genuine Edvard Munch, an oil painting picturing a genuine works of August Strindberg and a large Mixt media and three smaller color drawings picturing Egon Schiele.
"MS" states that he bought the painting in "a place" in the Old Town in Stockholm that would be closed! In the police interrogation of "MS", he says he was able to buy the painting "for an extra good price" for 30,000 SEK, but he can not remember where in the Old Town this happened. He can not even remember the time when this would have occurred.
The District Court's judgment: Mr. "MS" has provided the painting with forged signature, provenance, texts, labels and documents with the intent that the painting will appear genuine. Investigation shows that both the painting and the signature is not an original work of Edvard Munch. The crime is serious fraud with intent to lull prospective buyers that this is a genuine work of Edvard Munch. Criminal sanctions, a year in prison.

Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better known part, was produced before the early 1920s. During his lifetime of work, he made one of the most significant and enduring contributions to the development of Modernism in the twentieth century. In his themes and subject matter, in the manner in which he gave voice to these, and in his handling of paint and the graphic media (especially woodcut and lighography), Munch was profoundly original and radical. He is one of the handful of artists who have shaped our understanding of human experience and transformed the ways in which it might be visually expressed.

Munch's nomadic and self-imposed exile's life in Europe, from his mid-twenties to mid-forties - especially in the cosmopolitan, creatively fertile centers of Paris and Berlin - was undoubtedly vital to the shape of his art. It established the necessary detachment from the 'untroubled communal myths' of his homeland and the troubled passage of his young manhood. On the one hand he was freed from the constraints of his past, and the real and perceived limitations of provincial life. On the other hand he was closely associated with the largely Nordic avant-garde writers and artists of his day who shared and promoted his belief in the necessity of using private, subjective experience to create 'universal' statements and imagery. this was the ambience in which Munch's originality and personal convictions flourished. His was the beginning of an age which celebrated the life of the individual rather than of community or society.
Perhaps more than any other artist, Munch has given pictorial shape to the inner life and psyche of modern man, and is thus a precursor in the development of modern psychology. His images of existential dread, anxiety, loneliness and the complex emotions of human sexuality have become icons of our era. Many of us know such images as The Scream, Anxiety, Melancholy, Jealousy, The Kiss, Madonna, Vampire, and The Dance of Life. In an unfolding and often only loosely connected series of paintings, drawings and prints, Munch developed these great themes of Angst, Love and Death during the 1890s - a project he call The frieze of life - and repeatedly returned to them until the end of his life.

Munch's 'quest for a distilled, elementary from and image that could speak fro all of human experience is best understood within the framework of late nineteenth-century art. For, while we rightly celebrate Munch as a Modernist, radical and singular in his contribution to the modern world, it is important to recognize how deeply imbedded and formed he was by the echoes and modes of the fin de siecle - nowhere more so than in his representation of women and sexuality.

Formed by the traumatic events of his childhood - the death of his mother from tuberculosis when he was aged five, his own debilitating illnesses and his beloved older sister's death (also from tuberculosis) when he was thirteen and she barely fifteen - Munch early on rebelled against the dogmatic, fervent religious beliefs of his father and the repressive mores of the bourgeois society which dominated the Kristiania (Oslo) of his youth. As a young art student he associated with the rebellious, 'Bohemian' artists and writers of Kristiania and was quick to respond to the intellectual and aesthetic revolutions brewing around him. Many artists had been persuaded to return to Norway from France by a growing nationalistic spirit and wish to rebuild the Norse identity, fuelled in part by the continuing political Swedish domination of their ancient land. They brought with them a impetus to change. The literary kristiania-Boheme, led by radical thinkers such as Hans Jaeger, along with the artistic community, joined forces with the radical politicians of the time who were working to achieve women's liberation, an eight-hour working day and universal suffrage. One of strongest influences on Munch's development was the somewhat older artist and critic, Christian Krogh whose adoption of the Realism of old masters such as Leonardo da Vinci, Titian, Diego Velazquez, Caravaggio, and El Greco, formed a distinctive alternative to the romantic naturalism which had dominated Norwegian art for much of the century. It was in this milieu that Edvard Munch came of age.

Berlin was crucial to Munch's evolution. It was here in the early 1890s that his art found its first widespread reception and recognition; and here too, after 1900, that the level of public acknowledgement, the numerous commissions fro both portraiture and mural decoration, and the emergence of patrons, such as Dr. Max Linde, and his wife Marie Linde, enabled him to earn his living as an artist. In Berlin in the early 1890s, amongst his peers - the cosmopolitan and largely Nordic circle of writers, critics and philosophers - Munch found also the intellectual stimulus and philosophical attitudes that validated the underpinnings of his art, whose beginnings were formulated in the fervent intellectual and sexual radicalism of the Kristiania-Boheme.

Combined with the recently encountered intensity and anguish of erotic love, this rich brew of emotional, intellectual and physical experience formed the substance which nurtured Munch's art and which would endure for this emotional intensity in his discussion of the celebrated series of images known as The scream and Melancholy; and there are further reflections on the sequences of paintings and prints embodying the power of erotic encounters and subsequent states of jealousy in Elizabeth Cross's essay 'Woman, Love, Jealousy). Munch scarcely deviates from the coherence of his imagery - and the later landscapes, figure studies and even some of the portraits seem to bear direct connection to the concerns and expression of The frieze of life. Munch's art is essentially inclusive.

Throughout his life Munch made portraits, both informally of family members and of his lovers and friends, and also fulfilling private commissions, on a personal level, his work in this genre encompassed the early portraits of his beloved sister Inger especially, and portraits of the Kristiania Bohemians, Hans Jaeger and Christian Krohg. In Berlin he again painted those in his circle, such Marcel Archinard, and his Polish literary friend Stanislaw Przybyszewsky. But there were also official portraits: the German banker and art patron Walther Rathenau, and Dr. Linde, the medical specialist who befriended him and who commissioned a version of The frieze of life for his children's study.

Munch's depictions of women are well known and celebrated - perhaps because of their singular directness about sexuality and their emotional impact. Art history has been inclined to judge Munch's imaging of women as bordering on misogynistic and compliant with the extreme stereotyping of the female which characterizes Symbolist art. While there are certainly many examples which are consistent with these assessment, especially in the early depictions of female sexuality and erotic power in The frieze of life, there are as many which demonstrate a nuanced, sympathetic and perceptive understanding of women, both collectively and as individuals. The tenderness expressed in the numerous depictions of his sister Inger, the admiring recognition of strength, wit and character in portraits of friends such as Aase Norregaard are matched by an unambiguous recognition - in the drawings of Consolation and Weeping young woman and the depiction of emotional states such as loneliness in Two human beings.

In 1908, following a period of deep crisis and heavy drinking, Munch reached an emotional breaking point which necessitated a period of hospitalization. After his recovery there was a significant change in the appearance of his art, despite the frequent revisiting of The frieze of life themes. With few exception, a lyrical quality and calmer mood are evident in his painting and increasingly he turned to themes and subjects drawn from the external world: landscapes and figure studies - nudes, bathers - including heroic images of rural and urban labor. While he continued to make prints, these were largely re-workings of earlier subjects, though they remained experimental and innovative. He experimented with photography too, recognizing its potential both as a medium in its own right and as an aid in pictorial inventions, in composition, and in establishing an immediacy of experience, a sense of modernity. He explored photographic self-portraiture, but also used photographs as a simple record of a figure or figures to be used in later compositions.

After the crisis and his recovery, his painterly style becomes very free, fluid and expressive - and often summary in ways that are surprisingly contemporary. There is a rich variety of imagery and mood in the work of the last three decades of his life. Yet it too exhibits qualities which are intensely personal and felt, and which mirror the artist's internal state as much as they do the external world. The companion of his Berlin days and owner of the emblematic face personifying jealousy in that cycle of paintings and prints, the Polish writer Stanislaw Przybyszewski, wrote that Munch's landscapes were 'found in the soul'. Even as they grew more naturalistic and less shaped by the fluid, linear harmonies and stylist manners of the Symbolists and Synthetists, Munch's landscapes remained fused with personal resonance and meaning.

The experience of landscape was not as central to Munch's art as it was to the work of his contemporaries and in Scandinavian art history in general. Perhaps that has much to do with his long absences from Norway, living in the cosmopolitan and urban centers of Paris and Berlin during his formative years. For the generation of Norwegian artists before Munch, for his contemporaries and for those following him, the idea of landscape as a repository for nationalism, for identity, for the complexities of human experience, and for the mystical or sublime, was crucial. For Munch, however, although he produced a substantial number of landscapes during his lifetime, this was not the vehicle through which his understanding of human experience was primarily expressed. He largely eschewed the sacred tales and hallowed figures of legend and history, and the reading of landscapes as sites of nationalistic belonging and possession, either literal or symbokic in subject matter or motif. Despite this, he was far from indifferent to the particular attributes of his native terrain. In all the years of his self-imposed exile, he scarcely missed a single summer in Norwa, usually spending the warmer months in the little coastal two of Asgardstrand where he acquired his first property, and whose rhythmic coastline forms the mise en scene for many of the dramas and soliloquies of his early paintings. Indeed, the few landscapes he felt moved to paint outside Norway, in Germany, reflect the topography and seasonal extremes to which he was habituated. And following his permanent return to Norway in 1909, the moods and seasons of his surroundings increasingly engaged his attention. These too may be understood within the embrace of The frieze of life - for in nature's ruthless indifference and winter severity, in the frozen earth's dramatic eruption each spring and ascent from darkness into summer's plenitude, the cycle of life and death is constantly present. the seasons are indelibly impressed on the human psyche and equate with inner experience. In the extremes of Nordic lands, nature and human experience are inseparable.